Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Tu pyaar maange pyaar de doon

Posted on: September 9, 2012


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Ah Ganesh, the unsung genius composer, creator of incredible melodies and rhythms that almost never got picturized on the so called grade A stars of his time. His songs, buzzing with hummable and memorable tunes, played themselves out in B and C grade cinema halls, in productions that were considered of the same categories. Some of his songs escaped this banishment to the C grade world, and found a place on the radio waves, and in the mind and memories of listeners. Some such songs have remained in the memories; but then there are many other remarkable creations from him that await re-discovery by aficionados.

The significant thing to contemplate is that the main body of Ganesh’s work came in the time when the juggernauts of RD Burman and Laxmikant Pyaarelal rode through industry. In such times, the music from Ganesh stands out as beacons, bright and shining though few and far between. O wish he had got opportunity for more compositions, and a better branding. The Hindi film music would surely have been richer many times over.

Prakash ji has typed this song title maybe three times on the farmaishes page. And I have been planning this post since his first request. Prakash ji, apologies to have made you wait for longer than usual on this song. But here it is now. And what a lovely piece of music this is.

The traditional past times of Lord Krishna and the Gopis in Vrindavan, is a significant source of inspiration, in every art form in the culture of this country. And of course, the films and the film songs cannot be, and are not an exception. This song is a stage performance, that starts with the ‘cheer haran’ (stealing of clothes) episode from childhood pastimes of Kannhaiyaa, His name as a child. The episode itself, as with some of His other pastimes, have been misinterpreted and commented upon with negative undertones. But the truth of the feelings behind such episodes, can only be understood by delving deep into the stories and learning about them from learned teachers. Although presented in a playful and sweet manner, the episode has a deeper meaning that is a learning for all living souls. The basic premise has to be understood first. Lord Krishna is the Supreme Soul, the only Complete soul in the universe, and thus he is also called the ‘Parmaatma’ or ‘Param Aatma’. He is beyond desires and fulfilment of senses and sense related emotions and pleasures. This particular episode is a comment on the social behavior and practice of bathing in public. The eyes and the minds of many people will only see an allurement and an excitement, and some others will look down with disdain. This episode is a lesson to discourage such a practice; that even if one is bathing in a river, one must not be fully undressed.

Looking beyond the ordinary, and its layman’s interpretations, there is another deeper layer concealed beneath. It deals with the human emotions and interactions. So many times it happens that we present ourselves, our behavior and our emotions to others around us, in a manner that it has a negative impact on others. It may generate displeasure, disdain, unwanted excitement, undesired aggression, and other such extreme and negative emotions. The lesson here in is that the human person should exercise extreme caution in presenting, or exposing, themselves, their ideas and their emotions. Some emotions and actions should not be exposed to all and sundry. A few emotions and actions may be exposed to some very close people only. And some emotions and actions may be constrained from any exposure at all. Such a level of understanding of the self, such a practice of restraint, is the required practical alternative to generating interactions that eventually will harm someone. This episode here is a lesson in gauging oneself, one’s own emotions and reactions, and exercising self control, for the purpose of limiting reactions from the others in the world – reactions that may lead to unhappiness.

The film is ‘Saa Re Ga Ma Paa’ a 1972 production from Satyen Bose Pictures. It is produced and directed by Satyen Bose. The film has a long list of actors, viz., Naazneen, Ruby Chauhaan, Alka, Suresh Chatwal, Vishal Anand, Paintal, Jagdeep, Roopesh Kumar, Nana Palsikar, Raj Mehra, Praveen Pal, V Gopal, Sulochana, Lata Arora, Poonam, Alka Soni, Kalpana, Moolchand, Hungaama, Darshan, Jankidas, Manik Dutt, Saajid Khan, Ramlal, Prakash Mishra, Mandheer Siyaal, Jerry, Bhola, Pardesi, Ashok Kumar, Sahira.

This film has an alternate name also i.e. ‘Jawaani Mastaani’. My take on this renaming is that maybe the film was originally started with the title ‘Jawaani Mastaani’. But then the same year, another film with a similar name hit the cinema screens. This film was the popular Randhir Kapoor, Jaya Bhaduri starrer, ‘Jawaani Deewani’. My speculation is that the name of this film may have been changed because it was too close to another film released in the same year. The certification of this film is under the name ‘Saa Re Ga Ma Paa’.

One song from this film is already posted here on this blog – “Saanchi Kaho Mo Se Baalmaa. . .”. The title of the film is indicated as ‘Jawaani Mastaani (aka Sa Re Ga Ma Pa)‘. I would request Atul ji to please reverse this naming, since the certified name of the film is ‘Saa Re Ga Ma Paa’ and ‘Jawaani Mastaani’ is the alternate name.

Enjoy this wonderful stage performance, and a wonderful song based on the traditional stories of Lord Krishna’s pastimes.

tu pyaar maange pyaar de doon
o saanwariyaa, o baanke saanwariyaa
tere hi rang mein, main gujariyaa
rangney aayee chunariyaa

I shower all my fond devotion unto You
As you desire,
O my dear (dark colored) Lord
O my oblique mannered Lord

NOTE: ‘saanwariyaa’ indicates dark colored, not exactly black, but the color of the rain bearing clouds.

‘baanka’ means bent, not straight. The traditional pose in which Lord Krishna is pictured standing and playing the flute, is called ‘baanka’, because He is not standing straight. One ankle is uplifted, He is leaning slightly to one side, and His neck is also at an angle, as He plays the flute. It is said that He is ‘teen jagah se tedhaa’ – bent at three places. This word also refers to His mannerisms and his dealings with others. Compared to Lord Ram, who is considered the epitome of principles and righteousness, Lord Krishna’s dealings are not straight forward, and He is not averse to playing a little deception to get things done. 🙂

tere hi rang mein, main gujariyaa
rangney aayee chunariyaa

This simple milkmaid is here
To tint herself
In your colors

NOTE: ‘gujariyaa’ = a lady who tends and milks cows

The word ‘chunariya’ is a symbolic evocation of the self. The ‘gujariya’ is expressing her desire to be fully immersed in the influence of the Lord, to be completely colored in His devotion.

ghoonghat mein naina hai, nainon mein kajraa hai
paaon mein paayal, paayaliyaa mein dori
saj ke sajaa ke, aayee mein gori
sun ke tori bansuriyaa

My eyes, hidden away behind my veil
They are accented with kohl
My feet carry anklets with tiny bells
Held together by a thread
When I heard Your flute calling out to me
I adorned myself
And came to You

chhup ke zamaane se, nikli bahaane se
sir pe bhaari gagariyaa utthaaye
us pe ye kaanta, pag mein haaye
phir bhi dolun dagariyaa

Away from the prying eyes of this world
And making excuses (about fetching water)
I carry this heavy pitcher on my head
And then, this thorn that hurts my foot
Despite all these difficulties
I still tread the road (leading to You)

main to morey piyaa, ho jaaun kyaa se kyaa
ang se jo mohey tu lagaa le
rakh de muraliyaa, mohey uttha le
main hoon teri baawariyaa

O my revered Dear One,
Only if You would embrace me
My being, my existence would become so special
O please
Place this flute by the side
And take me in Your arms
That’s what my life is all about


Song-Tu pyaar maange pyaar de doon (Sa Re Ga Ma Pa)(aka Jawaani Mastaani)(1972) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Ganesh

Lyrics

tu pyaar maange
pyaar de doon
tu pyaar maange
pyaar de doon
o saanwariyaa
o baanke saanwariyaa
tu pyaar maange
pyaar de doon
o saanwariyaa
o baanke saanwariyaa
tere hi rang mein
main gujariyaa
rangney aayee chunariyaa
oooooo
tu pyaar maange
pyaar de doon
o saanwariyaa
o baanke saanwariyaa

hoooo
ghoonghat mein naina hain
nainon mein kajraa hai
paaon mein paayal
paayaliyaa mein dori
ghoonghat mein naina hai
nainon mein kajraa hai
paaon mein paayal
paayaliyaa mein dori
saj ke sajaa ke
aayee mein gori
sun ke tori bansuriyaa
oooooo
tu pyaar maange
pyaar de doon
o saanwariyaa
o baanke saanwariyaa

ooooo
chhup ke zamaane se
nikli bahaane se
ooooo ooooo ooooo
chhup ke zamaane se
nikli bahaane se
sir pe bhaari gagariyaa utthhaaye
us pe ye kaanta
pag mein haaye
phir bhi doloon dagariyaa
ho o o
tu pyaar maange
pyaar de doon
tu pyaar maange
pyaar de doon
o saanwariyaa
o baanke saanwariyaa

oooooooo oooooo oooooo
oooooo ooooo oooooo
hoooooo oooooooo
main to morey piyaa
haa aa aa
main to morey piyaa
ho jaaun kyaa se kyaa
ang se jo mohey tu lagaa le
main to morey piyaa
ho jaaun kyaa se kyaa
ang se jo mohey tu lagaa le
rakh de muraliyaaa aaa
rakh de muraliyaa
mohey uttha le
main hoon teri baawariyaa
ooooooo
tu pyaar maange
pyaar de doon
o saanwariyaa
o baanke saanwariyaa
tere hi rang mein
main gujariyaa
rangney aayee chunariyaa
oooooo
tu pyaar maange
pyaar de doon
o saanwariyaa
o baanke saanwariyaa

9 Responses to "Tu pyaar maange pyaar de doon"

Sudhir ji,
You have written,as usual,a very good post on this song.
The point of kanhaiya stealing Gopi’s clothes has a different meaning as per some experts on Bhagwat puran.
In Hindu Mythology,Purans are compilation of stories about a perticular deity or an Avtar.Purans are those books to which different stories were added from time to time by many learned people,related ofcourse to the main theme.Purans are not written by any perticular sage or writer.In fact they are’Bhashya s ‘ or treatise s on the main Deity or activities of an Avtar,
The stories of lord krishna stealing clothes of Gopis is only symbolic.The real meaning being that the ‘Shad-Ripu”s or the 6 ills haunting mankind(like,Krodh,lobh Moha etc) are symbolised by the clothes that one wears .By stealing Gopi’s clothes Lord Krishna wanted them to see the inner Bramha Swaroop,or the self revealtion with God.Just indulging in worldly persuits is not enough.One also must find the God within oneself.This,probably,was the meaning of this seemingly naughty action of Kanhaiyya ji.
-AD

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Incidentally,the SHAD RIPU s are-
1.Kaam-Lust
2.Krodh-Anger
3.Moha-Attachment
4.Madh-Pride
5.Matsar-Covetousness and
6.Lobh-Greed.

-AD

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Arun ji,

Thanks and appreciation for your so prompt comments.

I fully agree with the interpretation you have given, also. Different sages have contemplated to find multiple meanings and interpretations in the original scriptures. And by the power of heuristic logic, these interpretations are correct and have stood the test of time.

Regarding the authorship of Puranas, as far as my readings go, the original 18 Puranas are written by Ved Vyas himself.

Best regards
Sudhir

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Sudhir ji,
According to Dr.D.S.SARMA of Ramkrishna Mutt of Madras,in his book,”A Primer of Hinduism”-
“Puranas are religious stories which illustrate the truths of the
Sruti s (Shruti-knowledge collected thru hearing and Smriti s-knowledge collected thru memories)by means of stories of Kings,adventures of Gods and legends of Saints…….for purposes of mass Education.Some of them have historical basis,but most are only imaginative.There are 18 Puranas,most important being Vishnu puran and Bhagwat Puran which is on the same level as Ramayana and Mahabharat.”
-AD

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Thank you Atulji
for Krishana`s song on Krishna Janmastami day(that`s in our region)

Song was lip synced by Ruby Chauhan(Its a guess,Main andhere mein teer chalaa rahaa hoon, I may be wrong )
aur Kishenji ka role mein Naazneen(Jo Mahabharat serial mein kunthi ka role adaa kiya hai aur Chalte Chalte,Ek Hi bhool,Kora Kagaz etc mein thi)

Aur Hero mahaashay jo sidewings mein prakat hote hain Vishal Anand/Bheesham Kohli(jo Dev Anand ke nephew hain aur Chalte Chalte,Taxi driver,Dil se mile dil movies mein hain

What a coincidence, dekhiye aaj hamaare manglore, udupi mein Krishna janmastami aur dahi handi ka tyohaar hai. Uss tyohaar ko bahut bade paimaane se yahaan manayaa gaya hai. Aur aapne Bhagwaan Sri Krishna ke gaane ko aaj hi prastuth kiyaa.

Aur

Sudhir ji
Thank you for my favourite song,informative article and for its translation.
Aur please aap “apology” mat kahiye , aap “Gyaan” aur sabhi vishayon mein mujhse bade hain aur hameshaa rahenge.
Aap hukm keejiye, woh meri sar aankhon par.

Phir se ek baar Thanks Sudhir ji(Dher saare pyaar ke saath)
aapkaa apnaa
Prakash

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Prakash ji,

What a wonderful surprise, regarding the celebrations in your part of the country. I have had this partially prepared write up waiting to go out for last three four days. Perhaps it was ordained to be posted today.

Cheers and regards
Sudhir

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I have heard the song before. I was under the imperession this was set to music by N.Datta.

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